西北空间视域下的秦腔北传考论  

The Transmission of Qinqiang in Northwest China

作　　者：徐海波[1] Xu Haibo

机构地区：[1]河西学院音乐学院,张掖734000

出　　处：《音乐文化研究》2023年第1期53-62,4,共11页Music Culture Studies

摘　　要：秦腔作为采用板腔体结构的戏曲,其唱腔的主要特征为变化发展的一对上下句,其中上句尾部落音较宽,下句尾部落音较严,这由文体结构中奇数句尾韵较宽,偶数句尾韵相同所决定。文章认为,秦腔产生于今甘肃境内的可能性极小,产生于山陕境内的可能性最大。秦腔概念的内涵是变化的,早先指多种多类戏曲声腔,当下所指实为1912年西安易俗社改革后的西安秦腔,民国至中华人民共和国成立后迅速传播至西北各地,由于传播时间短,各地秦腔唱词依旧使用关中方言,形成了不同的流派,未形成新的剧种。西北地区明清至民国以来的政区整合与陕甘移民促使西北各地汉族形成了相同的文化认同基础,这是秦腔等传统文艺能在西北迅速传播的主要原因。Qinqiang,as a kind of opera with banqiang structure,is mainly characterized by a pair of two phra-ses,in which the ending note of the first phrase is varied while the ending note of the second phrase is fixed.This is determined by the wide ending rhyme of the lyrics.This article argues that it is very unlikely that Qin-qiang was produced in Gansu province,but most likely in Shanxi and Shanxi region.The concept of Qinqiang was originally referred to various operas,but now it referred to the opera reformed by Xi'an Yisu in 1912.It then spread rapidly into the Northwest.Due to the short transit time,the lyrics still use the guanzhong dialect.It formed several different styles but not new opera genres.The integration of political districts from the Ming and Qing Dynasties to the Republic of China in northwest China and the migration of Shaanxi and Gansu made the Han people share the same cultural identity,which is the main reason why traditional arts such as the Qin-qiang has been able to spread rapidly in the northwest.

关 键 词：秦腔 文化认同 移民 梆子腔 

分 类 号：J607[艺术—音乐]